We have found 19,445 posts across 4 actor forums:
First time going for an acting gig! I got a few questions :) by Busy_Jicama_9224 • last post Mar 22nd
I am not an actor nor would I have ever thought I would have a chance to do acting at all so I’m a little confused by the process. I am a full time highliner and I was contacted by Subaru to highline in their National commercial. I sent in a self tape about a week ago and they start shooting mid April. how long does it take to hear back about a really specialized role like highlining? Do you think it would take a while for them to choose someone? Also how many people do you think got contacted for such a niche role? Anyway I’m stoked for the oppertunity and hopefully you wonderful people can shed some light on my situation:) Thanks!
What questions do you have for working actors? by iJuanAyala • last post Mar 22nd
I host the podcast [Actors With Issues](http://youtube.com/actorswithissuespodcast), where I interview working actors from TV, film and Broadway, many from popular films and series, about the career obstacles they've faced, the lessons they've learned and advice they'd give to young actors. I want to integrate listener/viewer questions more often so I'm asking for anyone to submit their questions here and we'll possibly feature them on the show. These can be about any topic because I interview such a wide range of actors on our show: audition anxiety, imposter syndrome, mental health, diversity, etc. The one thing I ask you **NOT** to ask is regarding "how to get an agent or manager" because you'll just get their story and not really concrete advice because as we all know, there is no one way, right way or normal way to get one. Actors self-submit, others are referred, some do a workshop or a showcase, and my agent found me themselves. Thanks in advance for your questions!
Amy Lyndon technique? by EffectivePineapple • last post Mar 22nd
Anyone have experience taking her class? I’m looking into the weekend intensive class as I’ve heard her name around town but want to hear if it’s worth it to take as a trained actor.
So slight chance at losing my voice. by mildhot-sauce • last post Mar 22nd
So for context I'm a voice actor, I know redundant. I also have a large non toxic multi nodule goiter. Dont look it up, basically my thyroid is enlarged and lumpy. Ive been told to think about removal. With a thyroidectomy there is a chance at damage to the RLN nerve the nerve that controls the voice box. Along with all the other horror stories like if they find something on my larynx, poof gone. My question is. If you lost your voice, be it completely or you sound muted/ its extremely painful etc. What are you doing? How do you find meaning after that? Sorry if this doesn't make sense spent all night worrying about this.
Some of my insights from the Writer's Strike that happened (2007) and the one that didn't (2001) by CanineAnaconda • last post Mar 22nd
There's a lot of chatter going on right now with a possible strike by the WGA, whose contracts expire in May 2023. Many in the industry are saying it will happen, but the reality is that no one knows what will happen until it happens. That hasn't stopped widespread speculation that it's a certainty, affecting decisions that affect us actors directly. This post is not to debate the merits of a possible strike, or its demands, but just to share some of my experiences as an actor over three decades. In 2007, I was acting in shorts, independent films and some theater, and for work, I was a utility stand-in on a network comedy, so I was on set a lot when the strike approached, was called, and in effect. Though the Teamsters have long had clauses in their contracts forbidding them to strike in solidarity with striking creative unions, SAG-AFTRA will not cross picket lines when the WGA strikes, and in 2007, this was true: SAG and AFTRA had not yet merged, and were both in solidarity with the WGA. However, it was not considered scabbing to shoot and act in TV and film whose scripts had already been written, so there was several weeks of work after the strike started still to be had for actors (and the rest of the crew and production), as long as the scripts were produced exactly as they had been written. On the show I was working on, one of the series regulars had a penchant for improvising and riffing, and the script supervisor who was used to letting it go for this actor had to work extra hard to get our star to say the line EXACTLY as it was written in the script: if one word came out of their mouth different from what was written on the page, it was considered new writing, and was a violation of the strike. A couple of episodes still in draft form went on to get shot, and it showed in the quality of the writing in the final product. Though the strike concluded in the first few months of 2008, the remainder of the season had already been scuttled by the networks and there were only 12 or 13 episodes made in what would have normally been a 22 episode season. It's an interesting endeavor to look at episode lists on Netflix or IMDb of shows produced in the 2007-2008 season that had abnormally low episode counts, and by many viewers' take, some of those episodes' writing was weak in comparison to other seasons'. The strike ended with some concessions to the WGA, and it didn't fully impact major changes in the industry. In fact, some might say that this was the beginning of TV's new Golden Age, as scripted shows became more in demand around this time, and the general consensus was that the writing in those shows was getting increasingly better. In 2001, I was acting in theater at night and working during the day for executives at one of the big networks, and early that year, everyone on the network side was convinced the WGA would strike as SAG had done the year before over commercial contracts. At the time, two huge hits on network TV were *Big Brother* and *Survivor*. Because both shows used non-actors (contestants) and didn't use pre-written scripts, they were out of union jurisdiction. The network started green lighting every reality show that came across their desks, expecting a strike would last at least through the beginning of the shooting for the 2001-2002 season, and with the added bonus of reality shows costing as little as 10% of what a scripted union show might be, and audiences were eating them up, the era of reality shows had come into full strength. Also, stars who had little theater experience started getting booked in limited run theater stints so they wouldn't be idle during the strike, as well as to keep their names in the public eye. That summer in New York, Shakespeare in the Park alone had at least a dozen actors known more for their film than stage work, and they were runaway hits, thus starting the trend to pepper theater productions with big screen stars, regardless of their theater chops. The trend of casting famous screen actors (though theater novices) in plays because of their ability to drive ticket sales came into full force at this time. Also, some of these same A-listers, traditionally "above" the mundane work of shilling for products in commercials, started booking voiceovers and on-camera roles on TV ads, both for the exposure and for the money that wouldn't be coming from TV and Film sources during a strike. The strike never ended up happening, but just the specter of it altered the professional landscape forever, making it that much more challenging for actors who weren't famous trying to get ahead. Speaking of the 2000 commercial strike, which lasted about 7 months IIRC, I wasn't in the unions yet, and was suddenly getting random calls for "non-union" commercials. At the time, the only non-union commercials were low-rent ads like local attorney commercials, small market ads, and 900 numbers. So when, during the strike, a non-union actor got called in to a non-union commercial for a major brand, they'd end up in front of a casting office with a picket line from SAG members at the entrance. Commercial productions started looking overseas to shoot, and after 7 months and little gains for the actors, the strike was over. Commercial producers had figured out ways to bypass their union agreements for major brands, like shooting in other countries, or ad agencies with agreements with SAG opening up separate "boutique" firms (like Ogilvy's Gramercy Park Films) to sidestep their agreed commitments to the unions. Thus started the decline in union commercial production, and now, it seems the majority of commercials shooting are non-union, and paying as little as 10%-5% of their union counterparts for national spots. I am 100% pro-union. I have been a member of various actors unions for at least 20 years, and should a strike be called, I won't scab. But this is also an illustration of how risky a strike can be on how actors can make their living, or even their ability to make a living. Strikes are absolutely necessary, but the decision to call one is a very serious decision to make, and should only be taken as a last resort. The results can be a breakthrough to getting working artists to be fairly compensated for their huge contributions to making a show a hit. But they can also alter the working environment forever, for better or for worse. Some actors during these times may have experienced these events differently and I'm interested in hearing those takes in the comments. I just thought my experience might be informative to those who have yet to experience labor turmoil in our industry. In solidarity, \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ EDITED for grammar
How to Make Sure an Actor is Legal by Whole_Respect998 • last post Mar 22nd
I have a problem that makes me uncomfortable. An actress is interested in acting in my film that included nudity and intimate scenes, but she looks pretty young. I asked her her age but she wouldn’t tell me, which makes me suspicious. She claims that she is legal, but I have no « proof » and there is almost nothing about her online, not even her real name. I only found her profile on Linkedin and even though her jobs are most often done by adults, they are still open to minors. I also have no proof that she did work there. How do I make sure she is not lying and that she really is 18 + to make sure I don’t break the law and don’t hire a vulnerable teenager girl? (note : I’m a female actor and this is a feminist project. I’m not interested in portraying teenagers in a sexual way, which is why I want to make sure she is legal).
better actor sandra bullock or julia roberts? by _donquixote_ • last post Mar 22nd
taking into account both of their films, to settle a dispute i’m having with a friend. [View Poll](https://www.reddit.com/poll/11z0z9p)
Need your advice by snoo-8762776 • last post Mar 22nd
I had an agent for 2 years, but things weren't going well, despite having some interesting auditions, I can literally count on one hand how many I had during the 2 years I was with them – but maybe it's also fair to consider the lockdown time. Still, very little visibility. He is a nice person but wasn't working for me as an agent. Six months ago, I left that agency and signed with a new agent who, despite the initial conversation being good and interesting, I see that I'm not getting the visibility I expected – and I'm not saying this with arrogance, but as a disappointment really. With her, I had an audition in the first week for a small project and then never had any more auditions for audiovisual projects, which is my focus and we talked about it. I had a few auditions for commercials, and last week she sent me a project which is a photoshoot for these girls that are graduating. I don't think I'm "too good for this" by no means, is just that my agent sending me a student project shocked me a bit because I expected her to be representing my profile for other projects. Like, this is why you get an agent, right? Now, a new agency that seems interesting has shown interest in my material and sent me an email to schedule a meeting because they are interested in representing me. This agency is small but better known, and I'm just starting out, so of course, I'll be represented at the beginning by a smaller agency. My acting teacher is also represented by them, so I asked him about his experience. An actress I know from a short film I participated in is also represented by them, so I asked her as well. The agency itself is better known in the market, as far as I can tell, compared to the one I am with currently. At least, that's my impression – I'm new to the market though. But I wonder if it would reflect badly on me if I change agencies now after 6 months with my new agent. I don't have enough experience to know if this is a very short time to end this or not. When I asked her about auditions and opportunities, she just said "it's too early, we need to wait," which frustrated me a bit because I'm tired of these vague responses. What would you do in my place? Should I consider the fact that 6 months is too soon to change agents, or should I give it a try?
What to put on resume? by Big-Adeptness995 • last post Mar 22nd
For context, I’m in Canada where co-star roles are usually billed as either ‘Actor’ (typically less than 5 lines of dialogue) or ‘Principal’ (typically 5 or more lines of dialogue or a large amount of onscreen presence but not large enough to be considered a guest star). I recently booked a role, where the breakdown identified it as an ‘actor’ role, however, after I booked, my contract said ‘principal’ and I was paid principal rates. I had fewer than 5 lines of dialogue but quite a bit of silent acting on camera. Should I go off what the contract says or the initial breakdown? Is it safe for ‘principal’ to go on my resume, instead of ‘actor’?
Is Casting Networks worth is for Background Acting? by thegreatestwhale • last post Mar 22nd
Hi all! I am new to background acting. Started with central casting about a month ago and I have been working 1-2 gigs per week through them. Seems like the other background actors are getting a lot of work from casting networks. I have been applying to jobs there for about a month and haven't received a single call. Is this normal or could something be wrong with my profile?
When creating a website & social media pages, should I brand myself as a Voice Actor or Voiceover Artist? by chaz65 • last post Mar 22nd
I'm interested in voicing both commercial gigs such as advertisements and explainer videos, as well as acting roles such as animation.
How realistic was Leonardo DiCaprio’s meltdown scene in Once Upon a Time in Hollywood? by CopeHarders • last post Mar 22nd
For more context here’s a video of the scene: https://youtu.be/s3maJDDoX1Y So I’m someone that has always been very interested in the art of acting. I’ve studied a bit of Stanislavsky, took Meisner classes, Practical Aesthetics, etc you get the point. I wouldn’t consider myself an actor more actor curious. The scene in question Leo’s character is livid that he screwed up a couple of lines and is berating himself for it. He even says he made a fool of himself. Is that how it goes typically? Actors that mess up lines here and there are looked down upon so harshly by cast and crew? Or is his character just being overly self critical? I guess my question is, is making a mistake that big of a deal? Even during the scene before when he calls for a line twice he almost loses it asking to redo the take with the director refusing. Anyway, thought both scenes were great but wondered if this was the true mindset of an actor and if this scene resonated with actors on an almost inside joke level.
UK Spotlight/Rep Question by LemonCandleOrange • last post Mar 22nd
Just signed up for Spotlight, as I’ll be spending some time in the UK over the next few years. I’m a Canadian actor (union) and am eligible to work in the UK; will be going back and forth for family reasons, but still primarily based in Canada. Currently listed as “self-represented,” since my Cdn agent doesn’t use Spotlight. So far, the breakdowns I’m seeing are pretty sparse… Realistically, do I need to also find a UK-based rep in order to be able to submit for tv/film?
Rhinoplasty as an Actor by AdImaginary4973 • last post Mar 22nd
So this is maybe a bit of a weird question. I just started acting a few months ago and have LOVED it. I have gotten a few roles and it has helped me a ton with my confidence in addition to being extremely enjoyable. I’m an attractive guy, but I’ve always had extremely low self esteem, especially when it comes to my nose. It has a bit of a hook to it, especially when I smile. It has a huge effect on my quality of life, I avoid smiling in public, on camera, etc. I recently discovered I have a majorly deviated septum, and that I’d be able to get a rhinoplasty for fairly cheap because of this, so now seems like the time to do it if I’m ever going to. My concern when it comes to acting is that doing this would make me “just another attractive guy”. I want to keep the distinct look I have, but also want to have the confidence to go on camera and be outgoing. What’s the general consensus on this? Will I be limiting myself in terms of potential roles if I do this? Trying to balance potential impact on opportunities with my mental health and quality of life is proving to be a struggle.
A student actor's question about daydreaming (and its use for acting) by Abstract_Corduroy74 • last post Mar 22nd
I've heard daydreaming is a great tool that actors can have, and an easy one to access, as we are all born with the capacity to daydream. But... I’m afraid that my daydreams are only about my success, happiness, and prosperity, and not about other things that I can find meaning in that could help me locate my triggers and buttons and what makes me who I am as a person. I haven’t spent a whole lot of time trying to analyze what most of my daydreams mean, but what I have gathered is that most of them in some way revolve around my success, happiness, prosperity, etc. I’m worried that by actively trying to daydream about other things that don’t naturally pop into my head, my problem is not solved, and they will not be natural daydreams, therefore they will not have real meaning to me and therefore, will not have something I can use for my acting. Am I worrying about nothing and overthinking something that is trivial? Should I actively try to daydream about things I normally wouldn’t, or should I abstain from this and just wait for more varied daydreams to come to me? Thanks a lot!
Stranger things season five auditions? by Solid-Guess-6765 • last post Mar 22nd
I absolutely love Stranger Things! It is my favorite show, I love the entire cast, and it’s just so good! I love it so much that I want to be a part of it. I am an actress and have been searching the internet for auditions for season five. So far I haven’t really found it, but I am really just not a good internet detective. I have been looking since the end of summer 2022. So I am posting this today for all the lovely internet detectives and whoever else this might concern. If you could be so kind as to try your best to find me auditions for season five. Obviously I would love to audition for a larger role, but I really just want to see the auditions. I really hope it’s not to late. Thank you and have a great day!
Can an adult be a successful actor if they’ve never been in love? by Turbulent_Bullfrog87 • last post Mar 22nd
The internet is full of “becoming a successful actor” and “if you’ve never been in love,” but only as separate issues. I found a single post a while ago about asexuals and acting, but that’s not exactly what I’m talking about and it was years old.
Not used on set today- what’s the best way to go about things by CliffOliver • last post Mar 21st
Had quite a situation on set today. I booked a non union commercial and agreed to work as a local hire in a smaller market as I have housing accommodations. However, after five minutes of shooting, they did not end up using me for the commercial because the client said I l looked too young. This is AFTER they requested that I clean shave for the shoot after I had stubble/ a light beard in my self-tape audition. My call time was 11AM, but I wasn’t dressed until 4PM. Yes, that happens all the time, but the 1st AD admitted he messed up the schedule and called me in way too early. Other actors were in an out in an hour. After I was told I was wrapped, they asked if the jacket I brought to set they could use for 10 minutes as someone from production filmed my role. I said fine, but it ended up being another hour because I was providing I was basically working wardrobe for them. All and all, I was on set for 7 hours, and filmed for 5 minutes before they released having me shave was a mistake. Someone from the agency and the 1st AD were very apologetic and kept saying that I would get paid. Is this the case?The client seemed a little dumb- is it fair game for my agent to ask for extra money on top, maybe a kill fee or having them add the usage for the renewal for messing up asking me to shave?
How to best seek representation and prepare for commercial/print/voiceover agency meeting? by ambitiouspikachu • last post Mar 21st
Hi everyone. Thank you so much for the community, I have learned a lot through reading the subreddit. I am currently actively seeking commercial and print representation. I am based in Los Angeles. My main goal is to become a film/tv comedic actress, however I got a referral to a commercial/print/voiceover talent agency so my plan is to focus on commercial/print and then segway to film/tv representation in a few months. First, what is the best way to seek commercial/print/voiceover representation? Or even film/tv representation? I have a meeting through a referral to a reputable commercial/print/voiceover acting agency next week, but there is a chance that I might not get signed. I hear that making an account on LA Casting or Actor's Access and sending out a reel and headshots would be useful. I don't have a resume, but I'm wondering if a standup comedy reel and headshots would be useful? I can make a resume but it would only have improv comedy, standup comedy, and acting class experience on it. Also would cold emailing a bunch of talent agencies work as well? Second of all, how would I prepare for my commercial/print agency meeting? I do not have any experience booking commercials and print modeling, however I do have the drive and willingness to learn. I will research the agency, bring a few types that I can play in commercials and print modeling, give them my experience, and state my goals for my career. Any help is appreciated, currently overwhelmed by the entire process. Thank you.
where to move post college by kaedon- • last post Mar 21st
Hey! i am graduating from school in New Jersey with a major in musical theatre, but there’s a divide between my peers about wether to move closer to NYC or to Philly, and i’m not sure what other people’s perspectives are on the topic. i really am an actor who sings (and not a standout dancer). I thrive in new work, and have a limited musical knowledge; as well as also being a kind of everyman with a lot of range i think. think big energy comedian who does serious roles with heart. i just wanna hear more people talk about this so i can get a lot of input before i go somewhere too long that i have to fight against. let me know i appreciate anything you can say